• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Cartoon and Animation Studies
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• s.35
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• pp.329-346
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• 2014

Art is the product from the combination of politics, economy, and social and cultural aspects. Recent development of digital media has affected on the expansion of visual expression in art. Digital media allow artists to use sound and physical interaction as well as image as an plastic element for making a work of art. Also, digital media help artists create an interactive, synaesthetic and visual perceptive environment by combining viewers' physical interaction with the reconstruction of image, sound, light, and among other plastic elements. This research was focused on the analysis of the relationship between images in art work and the viewer and data visualization using sound from the perspective of visual perception. This research also aimed to develop an interactive art by visualizing physical data with sound generating from outer stimulus or the viewer. Physical data generating from outer sound can be analyzed in various aspects. For example, Sound data can be analyzed and sampled within pitch, volume, frequency, and etc. This researcher implemented a new form of media art through the visual experiment of LED light triggered by sound frequency generating from viewers' voice or outer physical stimulus. Also, this researcher explored the possibility of various visual image expression generating from the viewer's reaction to illusionary characteristics of light(LED), which can be transformed within external physical data in real time. As the result, this researcher used a motif from Piet Mondrian's Broadway Boogie Woogie in order to implement a visual perceptive interactive work reacting with sound. Mondrian tried to approach at the essence of visual object by eliminating unnecessary representation elements and simplifying them in painting and making them into abstraction consisting of color, vertical and horizontal lines. This researcher utilized Modrian's simplified visual composition as a representation metaphor in oder to transform external sound stimulus into the element of light(LED), and implemented an environment inducing viewers' participation, which is a dynamic composition maximizing a synaesthetic expression, differing from Modrian's static composition.

• Journal of Science Education
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• v.38 no.3
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• pp.641-656
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• 2014

This study aimed at analyzing visual materials included in school science textbooks, specifically the textbooks for first semester courses of 3rd to 6th graders. The purpose was to provide directions for future textbooks by understanding the functions of the images in both pedagogical and social perspectives as well. The study was conducted by investigating the types, roles and socio-semiotic features of the images in science textbooks. The results were as follows. Firstly, the most used types of images in 2007 curriculum textbooks were photographs and drawn pictures. Uses of other visual aids than above were extremely rare. It was also found that as the educational level rises, the use of images for decorative functions drastically declined. The majority of the images were used in providing supplementary explanations or examples. This implies that the images effectively play the role of helping science education. In addition, more use of worksheets images was found, indicating that as educational level increases, students participate more actively in research sessions or data analysis. In socio-semiotic perspective, visual images showed high accessibility to students in 'Type of visual image', 'Function of visual image', 'Distance of shot', 'Horizontal angle of shot', 'Color moduation'. It was implied that there will a close correlation between the type, role and the socio-semiotic characteristics of visual images in textbooks. For example, photograph-type visuals were mostly used as supplementary references. And when applying the socio-semiotic analysis to photograph-type visuals, they showed 'real type', 'narrative-metaphor type', and 'shadow effect' among socio-semiotic features. Such correlations implied that knowing the type of the visual image may help determining the role of the image in the textbook to some extent, and also corresponding socio-semiotic characteristics. As a result, it was possible to infer how accessible certain visual images are to students. The above results have implications for the effective use of visual images in future textbooks.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Cartoon and Animation Studies
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• s.41
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• pp.75-106
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• 2015

Animations characterize space as a strategy to effectively show the inner conflicts of characters and to highlight the theme. During the process of inner conflict, characters unconsciously use defense mechanism to protect their egos from the fear that came from deficiency, and because of the self-deceptive quality of self-defense mechanism, the reality is distorted and conflicts get intensified. This study focuses on the concept of anti-house, the space where conflicts get intensified, analyzes animations to find out the aspect of inner conflict, and interprets the characteristic of space that is used for metaphoric structure frame. Also, it aims to reveal how the defense mechanism, which intensifies the inner conflict of characters, is characterized as anti-house. The analysis in this study was mainly done with the TV series, , and the theater version of . It is because the characters have serious deficiency from broken home and have a psychological quality of closed boundary that is symbolized as 'A.T. field'. Especially, the core character, 'Shinji Ikari', shows how a character uses compulsive self-defense mechanism to deal with inner conflict and as a result, goes through ego-collapse and then introspection. This process of the character's experience is the core of the whole plot. Through analysis, the relationship between the character's self-defense mechanism and the space, anti-house(which expands to Anti-city), was inferred. The space is made up of three axes, x-axis of horizontal space, y-axis of vertical space, and in the sense that all the space has no exit, z-axis of deeper contradictory space. This thesis started with the decision that is the most suitable work in analyzing the metaphorical relationship between self-defense mechanism and anti-house. There was limitation, however, as the typical characteristics of Japanese animations, pedantic composition and the possibility of broad interpretation, hindered clear verification. Hopefully, this limitation will be overcome by following studies and this study is expected to show the importance of space in interpreting the text of animations, and to serve as database for other creative works.

• Sijohaknonchong
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• v.23
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• pp.133-159
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• 2005

This thesis is about Sijo(traditional Korean poem) made-up of 35 volumes and 45 poems written by Han Yong-un. The aim of this study is reappraise the Sijo which is not known to Korean people. There are four thesis about Sijo so far. Ko Myeong-su divided Sijo into separate subjects and researched it very deeply. After I read the Chinese Poems of Han Yong-un, I researched the relationships between subject matter and its theme. The relationships are between the moon and religion, spring and aspiration, autumn and grief or lose, and the sword and patriotism. I chose to discuss a Sijo 'Mugunghwa Shimeukwajeo'(무궁화(無窮花)를 심으과저) shich deals with the moon and religion. The main subject matter of this S is the moon. There are three poems in this volume. They are all about the moon. There is a Mugunghwa (無窮花) on the moon. This poem asserts that the moon is good for love, and it is the subject matter of the poet's religion. The moon in the Chinese poem 'Okjungkamwhiy'(獄中感懷) believes there is hope in prison. The moon in 'Wolbang(月方中) is Buddhist thinking. I researched 'Geochon'(早春) tee poems about spring and aspiration. The first poem is about the independent movement against the Japanese. Autumn is about the feeling of lose in the life. Sijo 'Chuyamong' (秋夜夢) is lose the lover. The second poem is about conquering all difficulties of the poet's current circumstance. The third poem is about the feeling of vacuum in his life. The fourth poem is about deploring losing his mind. 'Nam-a'(男兒) and 'Urinim'(우리님) are books about patriotism. These poems have the subject matter of a sword for song patriotism. 'Kiharksaeng'(寄學生), 'Anhaeju'(安海州), and 'Hwangmaecheon'(黃梅泉) are patriotic poems. In this study, I found that the subject matter and the theme in the Chinese poems of Han Yong-un(韓龍雲) are related. Mainly he used the metaphor of the moon for religion, spring for aspiration, autumn for grief or lose, and sword for patriotism.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.76-89
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• 2012

This study aimed at carrying out a semantic interpretation of the core Design language that seemed to influence deeply in the creation of the ChwuiseokJeong wonlim of Gochang. Especially, this paper aimed at inferring how the spiritual culture of seclusion of the 16th century influenced the creation of the wonlim by understanding the metaphor and symbolism by grasping the transmission meaning and reception meaning of the creators and the people concerned with keywords like Eunil(隱逸: seclusion), Chwuiseok(醉石), and Chilseongam(七星巖). 'Building up a wall' was intentionally carried out in order to represent 'Seven Stars(The Big Dipper)' inside of the wonlim. This is a kind of two-dimensional 'enframement', and a result of active creation of a meaningful landscape. From Chilseongam that was created by assembling, we presumed that Kyung-Hee Kim, Nohgye(蘆溪), the creator showed the recognition and thoughts of astronomy as a Confucian scholar that the ChwuiseokJeong Wonlim where he secluded is the center of the universe. The interpretation of words in Nohgyezip, an anthology, showed that the articles and writtings of Nohgye, his decsendants, and the people of ChwuiseokJeong included alcohols, Chwuiseok, Yeon-Myung Do, and Yuli(栗里) where Do secluded; this means that Nohgye ranked himself with Do because Nohgye also lived in peace by drinking alcohols and enjoying nature like Do did. 'Drinking' was what expressed the mind of Nohgye who wanted to be free and have the joy of enjoying mountains, water, and their landscape like Do did. In other words, 'Drinking' is the symbol of freedom that makes him forget himself and equate himself with nature. These are the representation, imitation, and mimesis of respecting Yeon-Myung Do. As the alegory of 'speaking something with other things' suggested, it is possible to read 'Chwuiseok', came from the story of Yeon-Myung Do, in multiple ways; it superficially points out 'a rock on which he laid when he was drinking', but it also can be interpreted as 'an object' that made him forget his personal troubles. In addition, it means freewill protecting unselfish mind with the spiritual aberration of drinking, 'Chwui(醉)', mentally; also, it can be interpreted metaphorically and broadly as a tool that makes Nohgye reach to the state of nature by the satisfied mind of Yeon-Myung Do. 'Chwuiseok' was a design language that showed the situation of Nohgye by comparing his mind with the mind of Yeon-Myung Do from the Confucian point of view, and a kind of behavioral mimesis based on his respect to Do and 'aesthetic representation of objective reality.' It is not coincidental that this mimesis was shown in the engraved words on Chwuiseok and the creation of ChwuiseokJeong that has the same name with Chwuiseok in Korea and China.

• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.